Iro's Reviews

That's my rip on false advertising. The box said "action thriller" but I'd picked it up because I knew it wouldn't be like that. Even then, it still didn't meet my expectations.

I know you can't really compare the two, but there are plenty of good reasons why Jaws is considered one of the best movies ever made by critics and moviegoers alike. When was the last time King of New York made a "best of" list?

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Iro's Top 100 Movies v3.0

I thought jaws was about a dentist . Would have been more exciting

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Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.
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Jaws you obey me.. Expel them.... Right-- what film is this from... I will be very surprised if you guess right

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Based on the true story of Frank Lucas (Denzel Washington), an infamous drug trafficker, and Richie Roberts (Russell Crowe), the detective who worked to bring him down.

I want to get this out of the way first - American Gangster is a lot like Goodfellas. Of course, that's an easy comparison to make - every gangster film of the past 20 years owes a debt to Scorsese's film, which set the bar with its dynamic performances and compelling yet realistic storyline. Comparing the two films is something of a back-handed compliment because Scott's film is also an engaging affair, but not quite to the same extent as Goodfellas. Maybe because realising just how much it's like Goodfellas distracted a little from Gangster's own merit.

There is quite a bit of merit, though. Both Crowe and Washington deliver good performances. In regards to which was better, I'm going to nominate Washington as giving the better performance. He plays the benevolent gangster well, albeit with his fair share of actions that will polarise the audience (the most memorable being a very public execution of a rival). Crowe pulls the same trick in his own way - a too-honest cop with his own surprises - but Washington is just that extra bit more interesting. The movie is essentially about his character - he made it work well.

Apart from the lead performances that anchor the film, what else does American Gangster have to offer? A decent enough true-crime drama, with few thrills or action but what there is keeps you interested enough over the course of about two and a half hours (if any film can do that, it must be doing something right). Although on its own, American Gangster is a well-made piece of crime drama, it suffers from being derivative of earlier crime movies and even the odd cliché thrown in for good measure (including Josh Brolin as an über-corrupt detective who is an enemy to both Roberts and Lucas). Regardless, if you're into this kind of thing, you should enjoy it a fair bit. Just don't expect anything mind-blowingly original.

Naked centres on the intelligent but extremely bitter Johnny, who flees his native Manchester after raping a woman and heads down to London to meet up with his ex-girlfriend.

I hadn't seen any of Leigh's prior work before deciding to settle on Naked as a good starter. From what I'd gathered beforehand, I knew I could expect something that could best be described as "a gritty-feeling movie". In hindsight, I don't think you can describe Naked as being "a gritty-feeling movie". You end up describing gritty-feeling movies as being "like Naked".

That statement is pretty true – Naked is as bleak and unforgiving as they come. There are no good guys or any possible chances for redemption. Whenever a glimmer of hope appears during the film, it’s obliterated within mere moments. The characters don’t undergo any significant changes throughout the film. The film ends in pretty much the same way it begins, probably doomed to repetition until the end of the world. If you sit down to watch this, all I can say is “be prepared”. Know what you’re getting into.

Although the unforgettable feel of the film could be attributed to its verité style (filmed on the dodgy side of London with very rough-looking film), it could be better attributed to the protagonist himself. David Thewlis gives what's probably his best performance as Johnny, a man with few strengths and countless flaws. His eloquent monologues are roughly balanced by his harsh treatment of others. Johnny has very little respect for anyone or anything and it shows as he inflicts pain (physical or emotional, it doesn’t matter to him) on everybody that crosses his path.

As bad as he is, however, he’s oddly sympathetic in a way (especially when compared to a landlord who’s as callous and sociopathic as he is, possibly more so). In a way, I could actually relate to Johnny (and not just because I have the same coat). He knows how bad he can be and acts accordingly, only because he doesn’t believe in anything else or changing his ways. He just exists from day to day, just like any other human being. That’s what makes Johnny so compelling – he really is only human. When karma finally catches up to him late in the film, we aren’t glad to see him suffer. Johnny is the best kind of character, full of nuance that will make different people love him and hate him for the same reasons.

Even though Naked depends heavily on Johnny’s presence, he is not the be-all and end-all of the film. The supporting characters are exceptional – the stand-out roles being Johnny’s ex and her flatmate. Watching them try and deal with the sudden arrival of both Johnny and (later on) the landlord is in itself one very compelling subplot. A runner-up would be the security guard on his graveyard shift who engages in a series of debates with Johnny about time, life, evolution and the inevitable Apocalypse.

Needless to say, Naked was one hell of a film to watch. It makes me wonder exactly how I should rate it, if I should rate it. It’s not really one of those movies where you just say “Oh yeah, very good, very moving, 4 stars.” You’re more likely to watch it and afterwards not say anything, just think about it. Those are the exceptional films, and Naked is definitely that – a dark, pessimistic insight into the mind of a human being who treads the fine line between self-destruction and utter dissatisfaction.

Quite simply one of my favourite films.

My ramblings on it.

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"Critics are like eunuchs in a harem; they know how the Tatty 100 is done, they've seen it done every day, but they're unable to do it themselves." - Brendan Behan

I'm a big fan of Mike Leigh I am glad that Tatty has given you a link to his review as that is why i tracked Naked down to watch

Yeah, I have to admit it was Tatty who made me want to track it down. I was not disappointed.

16-year-old Juno finds out she is pregnant with her best mate Paulie's baby. She decides that the best way of handling the situation is to adopt the baby out to a rich childless couple.

Normally, I wouldn't make the effort to go and see a film like Juno. It struck me as being yet another one of those quirky, funny, touching, indie-looking films that manage to strike it big with both critics and audiences everywhere, despite a lack of star power and a large budget. However, the acclaim got so overwhelming that I caved in and bought myself a ticket to see Juno.

From what I can tell, the reason Juno has been a hit with practically everyone who's seen it is because it's funny and (relatively) lighthearted fare that manages to appeal to people's emotional sides. I guess this is where I differ from other people. I can see how others would like it, but quite simply, I didn't.

Juno has been promoted as more of a comedy than a drama. I could definitely see the humour in much of the film, but understanding the humour and actually laughing at and enjoying the humour aren't always the same thing. Laughter is a spontaneous act, and being conscious of the moments where I knew they had made a joke but not personally laughed at it felt weird. I kinda got the impression that the story's humour seemed a little forced, as did the references to music and horror movies.

That, or it was the trainwreck sitting behind me who would carry on like De Niro in Cape Fear, laughing himself sick at even the slightest joke and ruining every funny moment. I think I never managed an honest laugh, only the odd smile now and again. *shrug*

The reason I concentrated on the humour is that it's that central to the story. Sure, it's got some serious subject matter, but it deals with it in a humourous way. Once again, I can't help but feel it was trying a little too hard to be funny to actually be that funny.

As for the other elements of the story, well, I will say they worked well enough. I know that you usually get reviews gushing about all the little things that made the movie come together - the acting, the directing and whatnot - but you can get that from other reviews. One thing that everyone had gone on about was how great the soundtrack was. I'll pay that, it fit the feel of the movie all right. One highlight for me that I'd like to mention was the animated credits sequence. A bit of a cliché, maybe, but still fairly enjoyable.

So there you have my verdict on Juno. It's a nice movie, worth watching once at least, but I couldn't quite agree with the high ratings that it gets wherever I look. Then again, as I've stated, it's not really my kind of movie so liking it at all probably means something. In any case, enjoy.

(And hope you don't see it in the same theatre with anyone who laughs way too loud.)

In 1950s New Zealand, timid young Lionel has to cope with his domineering mother, his new girlfriend and a growing zombie epidemic that he tries to contain in his basement.

Last week, I finally got around to watching Peter Jackson's infamous debut feature, Bad Taste. In its own right, it was fairly amusing and was well-done for a low-budget special-effects movie, but not quite as great as I expected it to be. Regardless, it got me in the mood to watch Jackson's even more infamous zombie horror, Braindead.

Where do I start with Braindead, though? Quite simply, I was blown away from start to finish. For all the acclaim that Jackson gets in recent years for Lord of the Rings, I personally think Braindead was just as noteworthy an accomplishment, if not more so. It's best likened to the gore-filled horror-comedy typical of Sam Raimi's Evil Dead 2 or Stuart Gordon's Re-Animator, but I reckon Braindead tops both in terms of gore and comedy.

That's what's great about Braindead - Jackson pulls out all the stops to create some truly unforgettable setpieces. He throws most of the zombie "rules" out the window and throws together such ridiculously over-the-top effects that, to quote a tagline for the film, you'll laugh yourself sick. There are too many to list in a single review, so I'll let the film itself do the talking. If you must have any indication of just how laughably crazy the violence in Braindead is, check out the movie's signature scene, where Lionel takes on a room filled with zombies armed with a lawnmower. In terms of horror comedy, it tops Bruce Campbell using a chainsaw for a hand or Simon Pegg swinging an old cricket bat.

In all other respects, the film is solid enough. The actors aren't anything too special yet they manage a solid enough job, ranging from meek mummy's boy Lionel to the overbearing Vera to the sleazy Uncle Les (and who can forget Father "I kick arse for the Lord" Magruder?). Same with the technical aspects. But anyone who would consider watching this movie won't really be worried about how convincing the characters are or how well the film is made anyway. When you watch Braindead, you're in for one hell of a ride. I think I used up all the words that do any justice to the warped genius behind the movie, but for the record here they are again - Braindead is a truly unforgettable, ridiculously over-the-top, laughably crazy horror comedy.



* Known in North America as Dead Alive

I haven't see Braindead for Years I may revisit it soon Thanks

Make sure if you are going to watch it, you see the un-rated one. The R rated is pure crap.

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"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."

Suspect's Reviews

*Puts on Netflix*

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I used to be addicted to crystal meth, now I'm just addicted to Breaking Bad.

At the turn of the 20th century, a former miner works his way towards being a rich and powerful businessmen in the burgeoning oil industry.

My reasoning for watching There Will Be Blood is the same as the reasoning for watching No Country for Old Men a month or so ago. A stark and brutal-looking film comes along, wins almost universal praise wherever I look and draws awards and nominations like ducks to water. Seeing as how much I enjoyed No Country, I wondered how exactly There Will Be Blood would stack up against it. Better? Worse? Equal? Only one way to find out.

There Will Be Blood is a much more straightforward character study than No Country for Old Men. Daniel Day-Lewis as Plainview, the humble miner turned ruthless entrepreneur, is just as engaging and mesmerising as everyone has made him out to be. There's nothing I can say about his combination of method acting and research that hasn't been mentioned in any other review. It's sublime. He's a rougher, tougher Charles Kane whose every redeeming feature is actually part of what makes him so menacing.

Now that I've got the obligatory Day-Lewis reference out of the way, now onto the rest of the film. The only other PTA film I've seen is Boogie Nights, which sounds like a far cry from There Will Be Blood, and in many ways it is (although I did notice similar use of long takes of dialogue). The rest of the film is an experience I'd best describe as "visceral". Despite the title, there is very little actual bloodshed, but what there is hits you hard and unexpectedly. The film even manages to generate a few moments of tension that get under your skin in a good way. Hell, there's even a couple of laugh-out-loud moments (this may sound odd, but I laughed more during There Will Be Blood than I did during Juno).

The film rumbles along at a peculiar pace, from the 2001-style opening to an unforgettable conclusion. In between, your attention is captivated by Plainview and his world, a world of greed, lies, hard work, inconveniences and, of course, blood.

Any assessment I make of There Will Be Blood always comes back to asking myself whether it's better than No Country for Old Men. Although the two have very little in common, they're both excellent, and it's tough to decide which one to give the edge to. It will be interesting to see how they fare at the Oscars, especially against each other. There Will Be Blood was an excellent film, and not just solely on the back of Day-Lewis's performance. It's a gripping experience, and will constantly surprise up until the bitter end.

Great review.

Thanks for the great review I am looking forward to seeing this one

Originally, I was going to do a review of Yoshiaki Kawajiri's Wicked City, but at some point last week I heard about Urotsukidôji. After seeing Wicked City earlier this week, and thinking it wasn't much chop (at least not to really dedicate a whole review to), I returned to my local video store and rented out Urotsukidôji. And then the experience began.

Urotsukidôji is set in modern Tokyo, revolving around the notion that there are three parallel universes - our human world, a demon underworld and a third world populated by human-beast hybrids with supernatural powers. The beasts and the demons are searching for the legendary Chojin, a demi-god that, when discovered and awakened, will unite all three worlds for an age of peace and prosperity.

If you know your fair share about animé in general (not just the likes of Spirited Away or Pokémon), you'll know about the darker side of the genre which is packed with graphic violence and sex. Urotsukidôji is a prime example of just how utterly horrific animé can be. Even though I suspect the Australian version has been censored, what remains is still some intense viewing material. I won't go into details, but I think the phrase I used earlier, "packed with graphic violence and sex" pretty much sums up the more horrific parts of the film (not to mention lots of monsters and mutants).

The rest of the film holds up surprisingly well for such an ultra-violent piece. The plot is actually fairly well-structured, with a few decent twists thrown in that lead up to one fairly shocking conclusion. As for the dialogue, it was mediocre, but practically every animé film's English dubbing is mediocre so it doesn't matter that much. The actual animation worked well, if it was a little rough in parts. Overall, Urotsukidôji was a pretty well-made animé. But obviously people aren't going to remember it for technical brilliance.

I can't picture myself recommending Urotsukidôji to anybody. All I can do is let them know that it really is a brutal demon-fantasy tale, peppered with countless unsettling images. Although personally I didn't find the film as utterly disturbing as I'd expected, I can still see how others can be seriously shocked by the film's content, and I have to warn, it is NOT for the sensitive or light of heart. Be warned.

I'm not sure how edited your copy is but it easily deserves XXX for the sex and at least an X for the violence. The hentai is non-stop. It's been years since I've seen this and all the sequels. (My brother owns them.) Now that he's got kids, we joke about him having to lock these away. You're right though; even though I recall it being very good, I don't know who to recommend this one to either, except for fans of extreme cinema.

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Urutsukidoji was fun. I'm trying to think of others you might like but coming up blank. For trashy anime, I think my favorites (though not as over-the-top as Urutsukidoji) are Fist of the North Star (movie) and Ninja Scroll, but Urutsukidoji is up (down?) there. If you don't mind really bad animation, see Twin Dolls/Twin Angels and Violence Jack. For the artier side of hentai, Cream Lemon had some good episodes, I think. There's also a really decent parody of the whole rape/violence hentai (by the king of the genre in manga, Go Nagai) thing called Abashiri Family. Obviously, none of this is appropriate family viewing.

For perversity, none of this stuff holds a candle to the Wounded Man manga, though (which doesn't feature any of the tentacles and cosmological convolutions, but is still really funny and weird and gross).